Academic literature on the topic 'Pianist-concertmaster'

The article is devoted to the questions of a number of aspects of formation of skills of concertmaster activity as a component of piano preparation of the pianist-beginner in the class of classical choreography, revealing of the functional connections of the tandem teacher-choreographer – pianist-concertmaster, determination of the level of psychological-pedagogical students and performers interaction with the choreographer. The data are analyzed in the context of consideration of the general laws concerning the selection of the performing repertoire for musical design of classical choreography lessons, their importance, expediency and correspondence to the students' age characteristics, their level of musical perception. Key words: concertmaster activities, beginner concert pianist, choreography art, classical dance, psychological and performance barriers, musical design.

The purpose of the article&nbsp;is to investigate the models of training students in the Pianist concertmaster specialty of five higher education music institutions in Ukraine, to consider the algorithm of the learning process at the departments of concertmaster<em>.</em> The methodological basis&nbsp;of the article is determined by an integrated approach to the consideration of the outlined problem using the following methods: analytical (to describe the origin and formation of the Pianist-concertmasters specialty in higher education music institutions of Ukraine); comparative (to compare certain parameters of teaching this type of performance, to determine the common and different); statistical (to analyse the preferences of students in choosing the specialty of Concert Pianist for their future); axiological (to understand the importance of the Concert Pianist profession and to establish value guidelines in pedagogical practice through the prism of the musician education&rsquo;s tradition. A significant correlation was found between the concertmaster&rsquo;s departments of the higher education music institutions of Ukraine. Results.&nbsp;The leading links of the concertmaster department of each educational establishment are determined. The preferences of students in choosing the specialty of Pianist-concertmaster are confirmed through an online survey. The novelty and practical significance&nbsp;of the study lie in the study of the algorithm teaching this profession in each of the higher music education institutions of Ukraine and will facilitate the exchange of experience between higher and secondary establishments (colleges, schools, specialised boarding schools), as well as musical institutions of other countries.

Nowadays, the mastery of the concertmaster and accompanist is one of the most important criteria of modern musical art. The concertmaster strives to realize the artistic intent of the composition and becomes a full partici-pant of any musical ensemble, realizing the figurative content of the performed composition. Despite all the versatility of this figure, the number of studies examining the concertmaster’s performing activity in contempo-rary music-performing practice is currently insignificant. Nevertheless, there is reason to argue that scholars need to scrupulously investigate this phenomenon of contemporary musical art in order to further understand and actualize the activity of the pianist-concertmaster-accompanist in performing practice. For these reasons, the present work is of indisputable scientific novelty and relevance. The author stresses that a concertmaster combines many functions, and is primarily focused on creating a harmonious interpretation of the musical work being performed in conjunction with the pianist or vocalist. The versatility of the concertmaster figure ensures his demand as a specialist in the musical environment, and hence, this profession should be in demand among students as well.

The purpose of the study is to identify the main concertmaster competencies that ensure high quality and productivity of the pianist's collaboration with soloists–vocalists. The article raises the question of the typology of concertmaster competencies, examines the role of various competencies in the performance of the tandem "vocalist/pianist". Their specificity is considered by the example of the concertmaster's work on the Tchaikovsky romance "To Forget so Soon". The scientific novelty of the research lies in the systematization and differentiation of the content of competencies. As a result of the research, the boundaries of the following concertmaster competencies have been identified and defined: performing (highly professional), musical-theoretical, pedagogical, organizational, socio-psychological competencies. The prospects for the implementation of a competence-based approach in concertmaster activity are determined.

Statement of the problem. Controlled anticipation is a conscious process of fore sighting an upcoming event, preparing for its fulfillment, and taking full control over its course. Extrapolation of this universal model to the professional activity of a pianistconcertmaster allows to schematize the psychological foundations of the performance process. The distinctive feature of Ravel’s Sonata for Violin and Piano in G Major is demonstrating the incompatibility of violin and piano declared by the composer. The main task of the concertmaster is to create an ensemble integrity, within which he should cover the musical material of all the parts of the ensemble. In the context of this Sonata, the pianist resolves a paradoxical contradiction – to combine into a single integrity what is deliberately polarized at the compositional level. This study was based on scientific works in the field of psychology, in particular, the researches of Ukrainian scientists (Batrachenko, 2010; Nikolenko, 2014) and the studies revealing the problems of performing Ravel’s Violin Sonata (Baer, 1992; Kaminsky, 2004; Beavers, 2010, 2016, 2020; Lef&amp;#232;vre, 2013). Objectives, methods, and novelty of the research. The purpose of the study is to highlight the general principle of controlled anticipation and to argue their importance in the work of a pianist-concertmaster. For the first time a theoretical substantiation of anticipation as a controlled psychological process in the field of music is proposed and the research attention is focused on the performance problems of the concertmaster, who is responsible for the unifying function in the ensemble in Ravel’s Sonata in G Major for Violin and Piano. The research methods are determined by attracting the psychological theory, which considered the concept of anticipation; an activity approach aimed at applying theoretical knowledge from the field of psychology in the preparatory work of a pianist-concertmaster, as well as the methods of deduction and induction in their direct interaction were used. Research results and conclusion. Controlled anticipation allows to solve effectively a wide variety of tasks and it is a universal model for working on any kind of music. The specificity of the concertmaster’s activity lies in the fact that he is obliged to embrace the soloist’s part with his consciousness in addition to his own material. It needs to correlate each structural element of the text with the partner’s capabilities. Controlled anticipation as a psychological instruction is aimed at helping both in the rehearsal and concert practice of a pianist-concertmaster. Moreover, in the course of a stage performance, the use of controlled anticipation reduces the problem of excitement to nothing.

The article analyzes the question of the peculiarities of concertmaster activity of future teachers of music art in the process of learning in the class of accompaniment and improvisation and in further practical activities. The author identifies the constituent structural elements in the training of pianist-accompanist in higher educational institutions of art, which is manifested in various aspects of the activities of future professionals. The field of activity for a musician-performer is concertmaster's work, which by its specificity requires from the specialist not only the possession of traditional performing skills, but also a whole set of personal qualities and the ability to work creatively with musical material. It should be noted that in the concertmaster class due to its specificity is the concentration and systematization of knowledge and skills acquired by students in piano, accordion, accordion, conducting, solo singing and music theory (N. Borisov, D. Gostev, T. Glyadkovskaya, M. Moiseeva, F. Khalilova and others.). This is especially evident in singing to one's own accompaniment and selection by ear, where the narrow professional skills acquired in various specialties are concentrated in one direction - the embodiment of the artistic image of a musical work. Such a variety of tasks requires a comprehensive improvement of the theory and technology of concertmaster activity. Сoncertmaster class is one of the performing disciplines that is important for the general professional training of music teachers. In the concertmaster's class, students' musical and performance activities are studying a wide range of vocal, instrumental, children's music literature, accompanied by a soloist-vocalist or instrumentalist, playing in an ensemble, singing to their own accompaniment, reading from a letter, transposing, listening. The concertmaster class in the structure of professional training of a musician-pianist is an important subject of a special cycle, along with other disciplines, is responsible for the holistic training of a specialist, provides a basis for work in the field of ensemble activities. The tasks of the concertmaster class in music education are to form and improve performance skills and abilities designed for the professional work of a pianist with soloists. Modernity requires the training of competent concertmasters with high performance potential, developed artistic and organizational qualities, possessing the means of artistic processing of musical material, accustomed to work in the stage.

This article is devoted to the study of the concept of "digital competence" in the context of the future concertmaster-pianist in the conditions of distance learning. The article provides a substantive analysis of the concept of "digital competence" and describes the main components of this concept. The authors investigate what digital skills and knowledge a future concertmaster-pianist needs to successfully perform professional tasks in the conditions of distance learning. In particular, the article considers such aspects as working with specialized software, using online resources for searching and analyzing information, the ability to cooperate and communicate with other musicians and specialists. The findings of the study may be useful for future concertmaster pianists who seek to develop their digital skills and knowledge to enhance their professional opportunities in today's music industry. In summary, digital competence is essential for accompanist-pianists in the conditions of distance learning. Piano education is actively developing in the format of online learning, which expands the possibilities of theoretical knowledge and practical skills of students regardless of place and time while having high efficiency. A study aimed to ascertain what competencies professional accompanists and accompanying teachers deem sufficiently important to have found that digital competence is one of the essential competencies for piano accompanying. A study investigated the effect of online teaching and individualized instruction in piano lessons. A paper suggests new learning approaches to interactive piano instruction. Online piano education, individualized online instruction, and interactive piano teaching are some of the ways in which digital competence is being applied in piano education.

The relevance of the research lies in the urgent need for modern musicology to reconstruct the profession of a concert pianist. The subject of the study is the art of maestro al cembalo. The object of the research is the work of maestro al cembalo's and the features of his creative activity. The purpose of the research is to study the process of formation of the initial stage of the development of the profession of a concert pianist, which spanned the period from the late Renaissance to classicism. Research objectives: to highlight the main characteristics of joint performance using basso continuo; to provide information about the specific skills and knowledge that maestro al cembalo should have possessed; to show the importance of these musicians in the musical performances, as well as in the evolution of musical creativity; to present portraits of the most significant representatives of this profession. The author of the study focuses on the influence of maestro al cembalo's art on the formation of European concertmaster schools. In order to disclose the stated topic by the author, the following methods are used: anthropological, hermeneutic, comparative historical, theoretical and analytical methods. A special contribution of the author is the search, analysis and systematization of the archival funds of Italian theaters, as well as city archives, on the basis of which information about the life, work and specifics of maestro al cembalo's creative and pedagogical work has been introduced into scientific circulation. The main conclusions of the study show that the most important principles of professional activity of a modern pianist-concertmaster of a musical theater were formed several centuries ago. The results obtained can be applied both in conducting courses on the theory and history of performing arts, and in the practical activities of modern concert pianists. The conclusions of the study allow us to form a stable picture of the initial stage of the formation of concertmaster art, to trace its leading trends, which will be reflected in the subsequent development of this creative specialty.